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"Inspired by the philosophy of Wittgenstein and his idea that the purpose of real philosophical thinking is not to discover something new, but to show in a strikingly different light what is already there, this book provides philosophical readings of a number of 'arthouse' and Hollywood films. Each chapter contains a discussion of two films--one explored in greater detail and the other analyzed as a minor key which reveals the possibility for the book's ideas to be applied across different films, registers, and genres. The readings are not only interpretive, but they offer a way of thinking and feeling about, with, and through films which is genuinely transformative. Rupert Read's main contention is that certain films can bring about a change in how we see the world. He advocates an ecological approach to film-philosophy analysis, arguing that film can re-shape the viewer's relationship to the environment and other living beings. The transformative 'wake-up call' of these films is enlightenment in its true sense. The result is a book that ambitiously aims to change, though film, how we think of ourselves and our place in the world, at a time when such change is more needed than ever before"--
Inspired by the philosophy of Wittgenstein and his idea that the purpose of real philosophical thinking is not to discover something new, but to show in a strikingly different light what is already there, this book provides philosophical readings of a number of ‘arthouse’ and Hollywood films. Each chapter contains a discussion of two films—one explored in greater detail and the other analyzed as a minor key which reveals the possibility for the book's ideas to be applied across different films, registers, and genres. The readings are not only interpretive, but they offer a way of thinking and feeling about, with, and through films which is genuinely transformative. Rupert Read’s main contention is that certain films can bring about a change in how we see the world. He advocates an ecological approach to film-philosophy analysis, arguing that film can re-shape the viewer’s relationship to the environment and other living beings. The transformative 'wake-up call' of these films is enlightenment in its true sense. The result is a book that ambitiously aims to change, though film, how we think of ourselves and our place in the world, at a time when such change is more needed than ever before.
This book challenges the long-standing presumption that serious philosophical engagement with film and television must be theoretical. It demonstrates, by example, how philosophy of film and film studies can move beyond the methodological assumption that understands philosophical to mean theoretical. In seventeen specially commissioned essays, one in-depth interview, and one reprint, leading philosophers and film scholars exploit the approaches, arguments, and insights of Ludwig Wittgenstein, Stanley Cavell, Iris Murdoch, Augustine, Berys Gaut, Noël Carroll, and Ordinary Language Philosophy, in exploring, amongst others, Gravity, Lone Star, The Handmaid’s Tale, Le notti di Cabiria, Dunkirk, L'Année dernière à Marienbad, Visitors, The Night it Rained, Philadelphia Story, Shoah, Mary Magdalene, Psycho, Blue Jasmine, Three Colours: Red, War Games, and Histoire(s) du Cinéma. In so doing, this collection argues for the power of theory-free philosophy and film studies as a way to expand our humanistic understanding.
This volume collects twenty original essays on the philosophy of film. It uniquely brings together scholars working across a range of philosophical traditions and academic disciplines to broaden and advance debates on film and philosophy. The book includes contributions from a number of prominent philosophers of film including Noël Carroll, Chris Falzon, Deborah Knight, Paisley Livingston, Robert Sinnerbrink, Malcolm Turvey, and Thomas Wartenberg. While the topics explored by the contributors are diverse, there are a number of thematic threads that connect them. Overall, the book seeks to bridge analytic and continental approaches to philosophy of film in fruitful ways. Moving to the individual essays, the first two sections offer novel takes on the philosophical value and the nature of film. The next section focuses on the film-as-philosophy debate. Section IV covers cinematic experience, while Section V includes interpretations of individual films that touch on questions of artificial intelligence, race and film, and cinema’s biopolitical potential. Finally, the last section proposes new avenues for future research on the moving image beyond film. This book will appeal to a broad range of scholars working in film studies, theory, and philosophy.
The twelve essays in A Critical Companion to Mel Gibson offer various interpretations of Mel Gibson’s work, treating this prolific but controversial figure not only as a filmmaker but as a historian, religious thinker, and social philosopher. From The Man Without a Face and Braveheart to The Passion of the Christ, Apocalypto, and Hacksaw Ridge, this interdisciplinary collection mines Gibson’s life and oeuvre for insight into existential problems, Aristotelian virtues, the politics of film, interreligious dialogue, adaptation issues, and much more.
In this book, Rupert Read offers the first outline of a resolute reading, following the highly influential New Wittgenstein ‘school’, of the Philosophical Investigations. He argues that the key to understanding Wittgenstein’s later philosophy is to understand its liberatory purport. Read contends that a resolute reading coincides in its fundaments with what, building on ideas in the later Gordon Baker, he calls a liberatory reading. Liberatory philosophy is philosophy that can liberate the user from compulsive (and destructive) patterns of thought, freeing one for possibilities that were previously obscured. Such liberation is our prime goal in philosophy. This book consists in a sequential reading, along these lines, of what Read considers the most important and controversial passages in the Philosophical Investigations: 1, 16, 43, 95 & 116 & 122, 130–3, 149–151, 186, 198–201, 217, and 284–6. Read claims that this liberatory conception is simultaneously an ethical conception. The PI should be considered a work of ethics in that its central concern becomes our relation with others. Wittgensteinian liberations challenge widespread assumptions about how we allegedly are independent of and separate from others. Wittgenstein’s Liberatory Philosophy will be of interest to scholars and advanced students working on Wittgenstein, and to scholars of the political philosophy of liberation and the ethics of relation.
We are used to hearing that the climate crisis is serious, but still tractable if we start acting on it soon. The reality is different. Things are going to get much worse, for a long time, whatever we now do – though hardly anyone wants to admit it. This book from the Green House collective offers climate honesty. The time for focusing primarily on mitigation is over. We now need to adapt to the dark reality of climate breakdown. But this means a deep reframing of our entire way of life. The book explores how transformative adaptation might enable us to confront escalating climate chaos while not giving up hope. Facing up to Climate Reality is a book for those brave enough to abandon the illusion of continuing normality, and embark on a harder, truer journey.
Best known for his groundbreaking and influential work in Buddhist philosophy, Mark Siderits is the pioneer of “fusion” or “confluence philosophy", a boldly systematic approach to doing philosophy premised on the idea that rational reconstruction of positions in one tradition in light of another can sometimes help address perennial problems and often lead to new and valuable insights. Exemplifying the many virtues of the confluence approach, this collection of essays covers all core areas of Buddhist philosophy, as well as topics and disputes in contemporary Western philosophy relevant to its study. They consider in particular the ways in which questions concerning personal identity figure in debates about agency, cognition, causality, ontological foundations, foundational truths, and moral cultivation. Most of these essays engage Siderits’ work directly, building on his pathbreaking ideas and interpretations. Many deal with issues that have become a common staple in philosophical engagements with traditions outside the West. Their variety and breadth bear testimony to the legacy of Siderits’ impact in shaping the contemporary conversation in Buddhist philosophy and its reverberations in mainstream philosophy, giving readers a clear sense of the remarkable scope of his work.
Produced on the fringes of philosophy and literary criticism, this book is a pioneering study which aims to explicitly address and thematize what may be called a “critical philosophy in the condition of modernism”. Its most important and original contribution to both disciplines is a self-conscious reflection on possible modes of writing philosophy today, and a systematic comparison with what happened in literary modernism at the beginning of the twentieth-century. The volume is divided into six sections, where internationally renowned scholars discuss such pressing topics as the role of an unreliable narrator in a major philosophical treatise, the different mediums of art-production and how these impact on our perception of the Work itself, the role of narrative in animal ethics and the filmic adaption of a Modernist classic.
The Art of Czech Animation is the first comprehensive English language account of Czech animation from the 1920s to the present, covering both 2D animation forms and CGI, with a focus upon the stop-motion films of Jirí Trnka, Hermína Týrlová, Jan Švankmajer and Jirí Barta. Stop-motion is a highly embodied form of animation and The Art of Czech Animation develops a new materialist approach to studying these films. Instead of imposing top-down Film Theory onto its case studies, the book's analysis is built up from close readings of the films themselves, with particular attention given to their non-human objects. In a time of environmental crisis, the unique way Czech animated films use allegory to de-centre the human world and give a voice to non-human aspects of the natural world points us towards a means by which culture can increase ecological awareness in viewers. Such a refutation of a human-centred view of the world was contrary to communist orthodoxy and it remains so under late-stage consumer-capitalism. As such, these films do not only offer beautiful examples of allegory, but stand as models of political dissent. The Art of Czech Animation is a unique endeavour of film philosophy to provide a materialist appraisal of a heretofore neglected strand of Central-Eastern European cinema.